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The Olmecs are generally considered to be the
ultimate ancestor of all subsequent
Mesoamerican civilisations. Thriving between
about 1200 and 400 BC, their base was the
tropical lowlands of south central Mexico, an
area characterized by swamps punctuated by low
hill ridges and volcanoes. Here the Olmecs
practiced advanced farming techniques and
constructed permanent settlements, including
San Lorenzo Tenochtitlán, La Venta, Tres
Zapotes, Laguna de los Cerros, and La Mojarra.
However, the consolidation of their city-states
led to notable cultural influence far beyond their
heartland, and throughout the Mesoamerican
region. This was confirmed in 2005 with the use
of NAA (Neutron Activation Analysis) and
petrography to demonstrate the spread of Olmec
ceramic vessels. It would appear that the Olmec
style became synonymous with elite status in
other (predominantly highland) groups, with
evidence for exchange of artefacts in both
directions. A non-literate group, the Olmecs
nevertheless paved the way for the development
of writing systems in the loosely defined Epi-
Olmec period (c. 500 BC). Further innovations
include arguably the first use of the zero, so
instrumental in the Maya long count vigesimal
calendrical system. They also appear to have
been the originators of the famous
Mesoamerican ballgame so prevalent among
later cultures in the region, and either retained
or invented several religious symbols such as the
feathered serpent and the rain spirit, which
persisted in subsequent and related cultures
until the middle ages.
Comparatively little is known of their magico-
religious world, although the clues that we have
are tantalising. The art forms for which the
Olmecs are best known, the monumental stone
heads weighing up to forty tons, are generally
assumed to pertain to some form of kingly
leader or possibly an ancestor. The smaller jade
figures and celts of which this is one are believed
to be domestically or institutionally based totems
or divinities. The quality of production is
astonishing, particularly if one considers the
technology available for production, the early
date of the pieces, and the dearth of earlier
works upon which the Olmec sculptors could
draw. Some pieces are highly stylised, while
others demonstrate striking naturalism with
interpretation of some facial features (notably
down-turned mouths and slit eyes) that can be
clearly seen in the current figure.
This celt is typical of the were-jaguar style. It
possesses a broad head that is almost as wide as
the body, with large deflected lips, small
almond-shaped eyes and a laterally-indented
nose that flares in from the forehead and joins
the upper lip. The small, rectangular ears project
laterally from the sides of the head. The neck is
represented by an incision, joining the head to a
flat body with the arms – the hands holding a
device that resembles a sacrificial axe – carved in
low relief. The impressions of limbs and digits
etc are carved with great economy yet great
freedom of expression. The legs are indicated by
a single line that divides the bottom one third of
the figure. The rear of the figure is smoothed,
with the backs of the arms and the neck
appearing as incised lines. Were-jaguar figures
have been so named because they are believed
to represent a shamanic transition between
anthropomorphic and zoomorphic form. The
owner of the piece is also likely to have been
involved in the magico-religious world – this may
have been some form of insignia or power
object. The polish of the celt indicates that it saw
long use, and may have been interred with some
notable personage. The marks do not suggest
that it was ever used in anger, or bound to a
wooden handle. It is therefore a religious,
ceremonial item with as great an importance
then as it has beauty now.
- (SP.564 (LSO))
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